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...drama in this case is provided by suggesting that Miller's efforts to get a good combo together were really rather like Beethoven's early struggles. The problem of the actor is solved with a beautiful piece of sustained mimicry by Jimmy Stewart. A subtle makeup job has slightly altered his mouth without causing it to seem unlike Jimmy Stewart's. With that for a start, Actor Stewart has managed all along the line-in walk, talk and conducting-to effect a graceful compromise of gesture that should please both Miller's public...

Author: /time Magazine | Title: Cinema: New Picture, Mar. 1, 1954 | 3/1/1954 | See Source »

...Bandleader Basie sees new hope for such big outfits as his own 16-piece band. Like other jazzmen of the late '30s, he was forced to cut back in the mid '40s, toured for four years with a small combo. "People were trying to decide whether they were going to like bop," he says. "Nobody was thinking of dancing. Big bands had no place to work...

Author: /time Magazine | Title: Music: Big-Band Jazz | 1/11/1954 | See Source »

Django Reinhardt (Clef LP). French jazz in the modern manner, played by Paris' late guitar favorite and his combo. Softer in texture and drive than U.S. jazz, the selections still have authentic jazz feeling. Included: a frothy little number called Blues...

Author: /time Magazine | Title: Music: New Pop Records, Jan. 4, 1954 | 1/4/1954 | See Source »

Shades of Bix (Jimmy McPartland and his band; Brunswick LP). Trumpeter McPartland undertakes the touchy task of recapturing the style and feeling of the cornettist Bix Beiderbecke, in the process socks out some fine Dixieland jazz. The combo, a duplication of Bix's own Gang (including a hoarse-voiced baritone sax), gets a lift from the inspired drumming of George Wettling...

Author: /time Magazine | Title: Music: New Pop Records, Jan. 4, 1954 | 1/4/1954 | See Source »

...clatter continued, but Shaw turned to the group he calls the Gramercy Five (nostalgically named after his 1940 recording combo), stomped out a beat and began to play. For a while he sounded like a musical D.P., playing as if he could not decide between his old swing style and something considerably more jittery and "progressive." He mixed old Shaw favorites (Begin the Beguine, Frenesi) with such new Shaw originals as Overdrive and Lugubrious...

Author: /time Magazine | Title: Music: Native's Return | 10/19/1953 | See Source »

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